Tag Archives: Dante’s

LIVE: Lightning Bolt, Liturgy, Dante’s, Portland, OR

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By Hollister Dixon

I’m gonna be totally honest with you: Dante’s isn’t my favorite room in the city to see music in. It has its charms, but if the show sells out, the room becomes an impossible-to-navigate blast furnace, with questionable sightlines and inconsistent lighting. Still, the right show makes it easy to overlook those things, and the one-two punch of Liturgy and Lightning Bolt is the definition of “can’t miss”.

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Liturgy To Play Dante’s With Lightning Bolt

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By Hollister Dixon // Photo by Erez Avissar

Brooklyn’s own Liturgy, a band described by frontman Hunter Hunt-Hendrix as “transcendental black metal”, is a tough band to crack open for a lot of people. On the band’s first two albums, 2009’s Renihilation and 2011’s Aesthethica, the band made a conscious effort to work within the confines of black metal, while subtly trying to make it their own. This can be polarizing, and off-putting for some people, but for others, it’s truly exhilarating.

Three years after Aesthetica – as well as the near-implosion of the band following the departure of drummer Greg Fox and bassist Tyler Dusenbury, both now back with the band – Liturgy are back with The Ark Work (out now on Thrill Jockey), the band’s most expansive and genre-bending effort yet. To support the record, the band are about to embark on a massive tour of North America and Europe, which includes dates with fellow Brooklynites Sannhet and Baltimore’s Horse Lords, and, for a fantastic string of dates on the west coast, noise rock giants Lightning Bolt. You can catch Liturgy and Lightning Bolt at Dante’s on April 29th, and find tickets right here. Don’t sleep on this one, dear reader.

After the jump, you can listen to “Quetzalcoatl” from The Ark Work, and check out all of Liturgy’s upcoming dates.

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LIVE: King Khan & The Shrines, Dante’s, Portland. OR

kingkhanKing Khan & the Shrines // Photo Credit: Cory Butcher

By Cory Butcher

King Khan brought his Shrines to Portland on a brisk Monday night, playing to a packed house at Dante’s. Local go-go/soul band The Satin Chaps opened the night, and there was already a decent sized crowd at the outset. Their 60s sound got everyone moving, and their matching neckerchiefs looked pretty dapper.

Next up was Hellshovel, a western-tinged garage-psych outfit from Montreal. Their set was a bit different than the preceding band, as instead of upbeat pop soul, they played fuzzy, stoney rock. It was a nice change of pace, as the crowd nodded their heads appreciatively, letting the sound wash over them. After some extended spacey guitar work, and a lot of fog (seriously the fog machine was running for most of the show), the crowd was prepared for the King.

King Khan and the Shrines hit the stage around 11:30 PM, immediately launching the crowd into a frenzied mass of dancing, moshing, and general chaos. Evoking James Brown at times with his movements and his caterwauling, King Khan made it impossible for the audience not to move. The Shrines were just as energetic, sounding extremely tight, performing choreographed movements, and keeping the crowd pumped up whenever they had any free time. Early in the set, I’m pretty sure I saw the keyboard crowdsurfing, which was a first. As the set went on, Khan played a few of his more garage-styled songs, including a new track dedicated to the late Jay Reatard. After a solid hour of raucous energy, he left the stage, only to return for the encore after donning a giant wig and stripping down only to a speedo and a cape. I wasn’t always sure what was going on at the show, but I do know that I was consistently entertained. Afterwards, I saw some EMTs and policemen tending to some injured concertgoers outside the venue, so the night was officially PUNK ROCK.

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MFNW ’13: The Cory Butcher Report

By Cory Butcher

On the third night of MFNW, I rode through the rare musicfest rain to Dante’s to catch Bleached, who put out Ride Your Heart, one of my favorite records of the summer, and The Men, who I have been meaning to see for a while now. Despite some early technical difficulties, Bleached played a a fun set, and their upbeat SoCal garage-punk helped the crowd forget that the weather outside was Portland. Highlights from the set included “Dead in Your Head,” “Next Stop,” and a cover of The Ramones’ “Today Your Love, Tomorrow the World.” At midnight, Brooklyn’s The Men hit the stage. I was a big fan of last year’s Open Your Heart, but I was a little disappointed by the classic-rock sounds of this year’s New Moon. They began the set with a southern-rock sounding jam, then transitioned to an hour of non-stop noise, and I mean noise in the best way possible. The energy in the venue was amazing, and the band never stopped or slowed down (Someone in the crown even yelled out “No more slow songs!” during the set, and the band complied).

On Saturday night, I went to see Italians Do It Better labelmates Chromatics and Glass Candy. The line outside the Wonder stretch around the block, and I don’t think that most of those people made it into the venue. Chromatics played an amazing set, and I wish I could remember more details, but I was having a really good time. They played all the key songs from Night Drive and Kill for Love, closing the set with their covers of Kate Bush’s “Running Up That Hill” and Neil Young’s “Into the Black.” They even surprised the crowd with an encore, even though Glass Candy were headlining that night. Ruth Radelet serenaded the crowd with a version of “Blue Moon,” then they played a couple more songs before thaking their leave, and allowing Johnny Jewel to get some rest before hitting the stage again with Glass Candy. On this night, Ida No was dressed like she was in a J-Pop group, and about halfway through the high energy set, she brought out a couple backup dancers. Ida also shared the story of how she and Johnny met at the Burnside Fred Meyer, and then gave a shoutout to a group of their former co-workers who were in the audience. By the end of the night, people were dancing on the stage, Ida and her dancers were crowdsurfing (one of the dancers was dropped, but she was okay!), and the band was covering a Geto Boys song. When they closed the set with “Warm in the Winter,” the crowd had entered a state of euphoria that I haven’t seen at many Portland shows.

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